Over the Rhine

Holy Biofuel & Justice Juice: A Musical Review of Wild Goose

David Crowder. Photo by Cathleen Falsani/Sojourners.

David Crowder tells stories and sings during a two-person acoustic set at Wild Goose. Photo by Cathleen Falsani/Sojourners.

On the opening night of the second Wild Goose Festival late last month in Shakori Hills, N.C., the dancing hadn't started yet.

The fabulous parades and the frenzied-yet-friendly almost-moshing were yet to commence on the grassy playscape in front of the main stage. Before things got wild for us goslings, we had to unpack our musical expectations and pitch a tent large enough to welcome the broadest of folds.

Kicking things off was Josh Garrels, who brought his smoothly smoky-folky sound with its pleasant rasp that recalls adult-alternative icons like Ray LaMontagne and Amos Lee. Following Garrels, former frontman of the band Caedmon’s Call and current experimental multi-genre provocateur Derek Webb pushed at the already broad boundaries of the Wild Goose aesthetic.

With several funny, yet biting, remarks during his plenary setlist, Webb outright rejected the “Christian music” label and bathed our brains with songs such as “A New Law,” the 2005 sarcastic anthem where bold freedom and blind faith wrestle it out for the soul of contemporary Christendom. Webb threw down a gauntlet with lyrics such as, “don't teach me about loving my enemies/don't teach me how to listen to the Spirit/just give me a new law.”

But on Friday, with fiery folk rock a la R.E.M. or Wilco, Damion Suomi and the Minor Prophets fired back a response. “The Lion, The Ram & The Fish” served up an antidote as we negotiated our weekend-long truce in the culture wars with this refrain: “Love your God with your heart, love your neighbor as your own, and the rest is just a guess as good as mine.”

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